Artist Statement 

Atmosphere and tactility inhabit my paintings. Open, abstract areas alternate with those of heavier marks, pours and incision-like angles. They do this upwardly, downwardly and diagonally across supports. Edges align or separate. I use diagram-like inflections to keep sections taut. Rifts form. Collapsed structures build. Elements reside inside support edges or run off them. A dual focus of what is within a piece and outside it emerges. A support’s physicality is affirmed or denied. Tensions between infinity and immediacy come into being.

I use tools from traditional training in drawing to realize the above space and surface. Fitted marks in the works reflect mosaic study. Incised-like ones are paens to earlier intaglio printmaking. In addition, I source the diagrammatic lines alluded to above from home economic sewing patterns. The sensibilities I described in the first paragraph reflect early years in the South and Midwest. White daylight that was behind hanging Spanish moss in North Florida forcefully burst past vertical edges. Mist and humidity crowded air in Missouri and Iowa creating dissonance with field expanses over which they hovered. I paint and make works on paper in my Lower East Side studio to relay frictions akin to these.